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- Jan 22, 2018
Holy mother of kino, Cronenberg is back.
Initial impression reviews are out.
I can't fucking wait.
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Crimes Of The Future (2022) - Cronenberg's Body Horror Kino is back on the menu, boys
- Thread starter Ahriman
- Start date
Holy mother of kino, Cronenberg is back.
Initial impression reviews are out.
I can't fucking wait.
Product Placement
kiwifarms.net
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- Dec 1, 2020
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- Sep 25, 2019
When the world needed him the most. The only thing better would be if he made a body horror movie about troons.
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- Jan 4, 2019
He ought to have enough fuel for it considering his little role on Star Trek : Discovery
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- Jan 6, 2022
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- Aug 7, 2018
Not me. It's a hyper dumbed down version of a short film he made early in his career that is WAY too fucking disturbing and anti-woman for audience today if it was remade.....
In the original Crimes of the Future, the main character is the head of a dermatology clinic in a future world where tampering with women's make-up products create a MASSIVE femicide as all women above the age of puberty, IE "sexually mature women" drop dead.
The disease may or may not have been the work of the former head of the dermatology clinic, who went missing after he came down with symptoms of the virus.
The main character explores a world where men have gone insane and de-evolved into creepy fetishes (including foot fetishism) along with people who've developed creepy mutations (a mustachioed guy with a huge mass of plant vines coming out one of his nostril and the guy who "gives birth" to new vestigial organs, the later of which is being made into the main character in the new version) to cope with a world where there is no pussy as all young girls who haven't hit puberty are being held in government facilities to protect them from murderously horny men.
In the end, the main character falls in with a group of "heterosexual pedophiles" (their sexual preferences for women explicitly stated by Cronenberg in the film's narration) who kill another group of pedophiles to steal their prize: A young six year old girl who's been artificially induced into puberty so they can fuck her and start reproducing new babies.
Having stolen the girl, they each go into the room to rape her but the first guy freaks out and in a fit of morality can't bring himself to do it. So the main character goes in, takes off his shirt, only to start noticing that he's got foam coming from his nipples (a sign of the lead has come down with the disease that is killing women) and that "he can feel Anton Rogue in presence in the room", a mystery line that has been speculated on as to what it means for decades by fans of Cronenberg.
The disease may or may not have been the work of the former head of the dermatology clinic, who went missing after he came down with symptoms of the virus.
The main character explores a world where men have gone insane and de-evolved into creepy fetishes (including foot fetishism) along with people who've developed creepy mutations (a mustachioed guy with a huge mass of plant vines coming out one of his nostril and the guy who "gives birth" to new vestigial organs, the later of which is being made into the main character in the new version) to cope with a world where there is no pussy as all young girls who haven't hit puberty are being held in government facilities to protect them from murderously horny men.
In the end, the main character falls in with a group of "heterosexual pedophiles" (their sexual preferences for women explicitly stated by Cronenberg in the film's narration) who kill another group of pedophiles to steal their prize: A young six year old girl who's been artificially induced into puberty so they can fuck her and start reproducing new babies.
Having stolen the girl, they each go into the room to rape her but the first guy freaks out and in a fit of morality can't bring himself to do it. So the main character goes in, takes off his shirt, only to start noticing that he's got foam coming from his nipples (a sign of the lead has come down with the disease that is killing women) and that "he can feel Anton Rogue in presence in the room", a mystery line that has been speculated on as to what it means for decades by fans of Cronenberg.
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- Sep 30, 2018
he only took the title from that film, it's not a remake.
also holy shit #10 on trending
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- Apr 22, 2015
It was very good. Not going to spoil it but it's a return to form. If you've followed his filmography then you can see elements of Videodrome, Dead Ringers, Naked Lunch, Crash and Existenze (in a good way relating to this one) throughout the film.
The vibe throughout the film is very much Dead Rings/Naked Lunch/Crash. That specific era of Cronenberg.
The vibe throughout the film is very much Dead Rings/Naked Lunch/Crash. That specific era of Cronenberg.
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- Jan 22, 2018
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- Jun 3, 2016
No, those films could keep me on the edge of my seat. My husband and I watched this together and agreed, it was boring and pretentious as fuck. Kristen Stewart was terrible, and I feel like the kid acted circles around her. This film just felt pointless and stupid. I discussed this with my husband, and the script needed a serious rewrite. They should have gone more cosmic horror to match the body horror. Instead of those dumb pods generating useless body systems, the body systems should have served a more supernatural purpose like bridging the gap between universes opening portals and transforming the possessors of the organs into horrible interdimensional beings. Instead, Cronenberg just found a way for Kim Kardashian to reduce her risk of getting an embolism after getting more plastic cement in her ass.
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- Apr 22, 2015
What in god's balls are you talking about you stupid whore?
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- Jun 3, 2016
Only a leftist would be mad someone doesn't agree with their opinion. That film blew chunks.
- Joined
- Jan 22, 2018
So I watched it last night. It was "very okay" but I am not sure what to make of the plot. For me it's a 3.5/5, I did enjoy the acting -Kristen Stewart was fairly decent- but... I dunno.
I think it could have been better.
I think it could have been better.
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- Aug 24, 2014
I think it is so-so and definitely not the best Cronenberg entry; indeed I was more absorbed by the more-or-less conventional drama Map To The Stars than Crimes. And even in Crimes, I am more drawn to the tender yet humorous relationship between Saul (Viggo Mortensen) and Caprice (Léa Seydoux) than the biohorror. The cryptic dialogue is a liability, especially from the duo in the National Organ Registry (Wippet -- Don McKellar and Timlin -- Kristen Stewart). I feel these two should be given less plot space; Kristen Stewart is just plain annoying and the "Inner Beauty Pageant" subplot went nowhere, as is the diversion to a certain Dr. Nasatir.
Few reviewers commented on the politics in this film, yet politics -- about government's paranoiac surveillance, the supposed revolutionary power of art, and the degradation of art into propaganda -- is a very strong theme in the film.
Few reviewers commented on the politics in this film, yet politics -- about government's paranoiac surveillance, the supposed revolutionary power of art, and the degradation of art into propaganda -- is a very strong theme in the film.
Many people are confused by Crimes because the film samples a lot of interconnected themes without bringing them to a satisfactory resolution. Many such themes are trite and clichéd (The compulsion of the artist to create; the interdependence between the artist and his muse; the equivalence between sex and bodily violation, between pain and orgasm), but the core of the film is the trifecta of Art, Nature and Politics. Politics seeks to control both Nature and Art, and this is not a subtext; the word "Crimes" in the title already suggests so. The National Organ Registry is erected to monitor and control the phenomenon of "accelerated evolution", because the government fears that the new human beings might pose threats to the regime. Wippet's first monologue already laid bare his reactionary politics; indeed he regards "evolution" as a dirty word. Yet later Wippet, when he tries to draw Saul, the "artist" with a revolutionary potential, to his scheme, would sing the liberal ditty of "acceptance, acknowledgement, and empowerment". Later we would learn that Saul is an undercover agent of the New Vice Unit; his job is to infiltrate underground "body art" performers and report on any suspicious activity (this poses the intriguing possibility that Saul's supernumerary organs are not "natural", but are government-induced mutations).
While the government wishes to manipulate the artist for its purpose, so do anti-establishment groups represented by the gang of plastic-eaters lead by Lang Dotrice (Scott Speedman). Dotrice wants to convince Saul and Caprice to perform a public autopsy of his murdered son, a "very special child", the first human being born to digest plastic. Dotrice knows that a if a government autopsy were performed, the record would be kept secret, hence a public art spectacle is the best way to announce the next breakthrough of human evolution. The autopsy-as-art is performed, after a tear-eyed, poignant oration by Caprice -- and the child's innards are found to be tattooed with skull-and-bone symbols and other messages of death. Doctrice suffers a mental breakdown and was swiftly murdered by (I presume) two government agents. It turns out that Timlin (Kristen Stewart's character) has replaced the child's organs, a switch-a-do that subverts the most subversive of art into propaganda and makes a cruel mockery of Caprice's pronouncement that an autopsy is "a look into oneself". Doctrice was right; now that the child's organs are taken by the government, no one will know what they are like.
Incidentally the film does not indicate that Timlin, the mousey, skittish clerk, has such technical expertise. The denouement looks like an ass-pull on Cronenberg's part, although it does mean that Timlin's amorous advances to Saul is more than sexual attraction.
While the government wishes to manipulate the artist for its purpose, so do anti-establishment groups represented by the gang of plastic-eaters lead by Lang Dotrice (Scott Speedman). Dotrice wants to convince Saul and Caprice to perform a public autopsy of his murdered son, a "very special child", the first human being born to digest plastic. Dotrice knows that a if a government autopsy were performed, the record would be kept secret, hence a public art spectacle is the best way to announce the next breakthrough of human evolution. The autopsy-as-art is performed, after a tear-eyed, poignant oration by Caprice -- and the child's innards are found to be tattooed with skull-and-bone symbols and other messages of death. Doctrice suffers a mental breakdown and was swiftly murdered by (I presume) two government agents. It turns out that Timlin (Kristen Stewart's character) has replaced the child's organs, a switch-a-do that subverts the most subversive of art into propaganda and makes a cruel mockery of Caprice's pronouncement that an autopsy is "a look into oneself". Doctrice was right; now that the child's organs are taken by the government, no one will know what they are like.
Incidentally the film does not indicate that Timlin, the mousey, skittish clerk, has such technical expertise. The denouement looks like an ass-pull on Cronenberg's part, although it does mean that Timlin's amorous advances to Saul is more than sexual attraction.